Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.

I'd come into filmmaking as a painter so, for me, making 'Good Will Hunting' was experimental because I didn't know how to do it.

I'm not being analytical. I just create everything intuitively. If you're too analytical, what you're doing probably ends up being too specific.

Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.

I was once a shameless, full-time dope fiend.

The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.

I'm a junkie. I like drugs, I like the whole lifestyle, but it just didn't pay off.